Opera in Performance: Analyzing the Performative Dimension of Opera Productions

by Clemens Risi

Overview

Opera in Performance elucidates the performative dimension of contemporary opera productions.

Product Details

ISBN-13:	9780367645052
Publisher:	Taylor & Francis
Publication date:	05/31/2023
Series:	Routledge Advances in Theatre & Performance Studies
Pages:	198
Product dimensions:	6.12(w) x 9.19(h) x (d)

About the Author

Clemens Risi is professor of theater studies at the Friedrich-Alexander-Universität Erlangen-Nürnberg.

Table of Contents

List of Illustrations

Acknowledgments

Introduction Opera and the Performative

Part 1 Theoretical Foundations

Chapter 1 Beyond Interpretation

Chapter 2 Beyond Semiotics: The Interplay of Representation and Presence

Chapter 3 Theories of Performance and the Performative

Chapter 4 The Entanglement of the Senses: Premises from Perception Theory

Part 2 Analytical Approaches

Chapter 5 Symbioses and Contestations: The Interaction of Auditory and Visual Elements

Chapter 6 The Interplay of Representation and Presence in Performance

Chapter 7 The Voice and the Body in Opera Performances

Chapter 8 Rhythm and Experiences of Time in Opera

Chapter 9 The Future of Opera? On the Mediated Experience and Distribution of Opera Performances

Conclusion

List of Performances Discussed

Bibliography

Index

Editorial Reviews

''I find the book not only important and revealing but also downright exciting in how it points out connections and perspectives. An impressive work that I felt to be both brilliantly written and pioneering.'' Hans Neuenfels

''With the present volume, Clemens Risi fills a serious desideratum. The discussion in theater studies has so far engaged too little with the repertory system of opera—viewed statistically, still the most common—from the perspective of performance analysis. […] The book will certainly soon develop into a standard reference and hopefully also contribute to conferring more visibility to opera in discussions in theater studies.'' Forum Modernes Theater

"As the book’s subtitle suggests, Risi puts the performative dimension at the centre of his study. […] For Risi, the task at hand when analysing a performance from the realm of Regietheater is not rigorously to relate the event to the score in order to evaluate the production as well or badly done. Rather, ‘the focus is on the question of why and how a certain performance was able to affect the audience in a certain way’ (11). […] After a concise first part on the theoretical framework, situated against the backdrop of the performative turn, Risi goes on to approach opera in performance in its ephemerality and uniqueness as a bodily experience that is as subjective as it is intimate. Methodologically, he approaches the performative dimension through a phenomenological framework, arguing that phenomenology does not ‘describe any event independently from one’s own corporeal experience’ (114). Central to this study is the ‘phenomenal body in its materiality’ (95). Not only are the sound and voice produced by the performer’s body of importance, but also each body that belongs to the audience. Consequently, performances experienced by Risi himself take up most of the analysis. The author describes what he observed and felt, how other members in the audience reacted and what the overall atmosphere in the theatre was like. By doing so, he sheds light on experiences that regular opera-goers all have at some point. The quality of his approach lies in their promotion as objects of research and the establishment of an analytical toolbox to tackle them.

[…] It is a joy to listen with Risi to the many performances he describes so vividly. The longer one engages with his arguments, the more the author becomes the reader’s very own opera buddy. Risi’s descriptions of stage settings, singers’ bodily exertions and their vocal effects, his own impressions and physical tensions, and the atmosphere in the audience, are engaging and comprehensive. By almost ‘resurrecting’ the performance, the author creates the conditions for the performer–audience relation to incorporate the circle of readers too. All in all, Risi’s text proposes an important shift of perspective towards the performative dimension of opera, as well as a methodological approach that has already proved its urgency and applicability in opera studies.“ Elisabeth van Treeck, (Cambridge Opera Journal 34/2022)




''With the present volume, Clemens Risi fills a serious desideratum. The discussion in theater studies has so far engaged too little with the repertory system of opera—viewed statistically, still the most common—from the perspective of performance analysis. […] The book will certainly soon develop into a standard reference and hopefully also contribute to conferring more visibility to opera in discussions in theater studies.’’ T. Sofie Taubert, Forum Modernes Theater

From the Publisher